Oedipus Holmes, As a Matter of Fact

Total Page:16

File Type:pdf, Size:1020Kb

Oedipus Holmes, As a Matter of Fact THE MAN WITH THE TWISTED FOOT By Zoe Fox ‘14 OEDIPUS: Oh come on guys, it’s not so bad! C5: All my cattle are dead, and I haven’t eaten in a week. CAST: Chorus 1 – Brittani Ivan Chorus 6 – Julie Benton, OEDIPUS: … Okay, it is so bad. Chorus 2 – Elaine Holehan, Oedipus – Zoe Fox Chorus 3 - Giulietta Schoenfeld, Creon – Vanessa Felso C6: And what’s more, you were supposed to save us all! But Chorus 4 –Airen McClure, Jocasta – Marianne Wald noooo, here we are, about to die from a plague. Niki Barker Tiresias – Tabatha Barton [CHORUS members mutter amongst themselves] Chorus 5 – Jordan Schwartz, Messenger – Airen McClure Wanhong Zou Shepherd – Alison Robins C1: Yeah, can’t you do something? Laius – Jordan Schwartz OEDIPUS: I know your pain, for I suffer even more than you SCENE 1 when I look out at all of your sad, starving faces. Seriously, you guys are such wet blankets. But good news! I’ve sent my brother- CHORUS walks in., Odds from L, evens from R, looking sad and dejected in-law, Creon, to ask the Oracle how to save us all from this plague. I’m sure he’ll have an answer. C1: I’m SO hungry. [CREON enters from L, looking baffled as to how he got there] C2: Me too, and I’m so cold. OEDIPUS: Creon, my good man! I was just talking about you. C3: I had to sell my himation for some food! What did the Oracle say? C4: Well I had to sell my house. Now I’m living like Diogenes. It’s CREON: Psh, what DIDN’T the Oracle say? I wish they’d just awful. speak clearly for once. Ahem. [clears throat, speaks grandly] I come bearing news from Apollo. C1: This is the worst plague Thebes has ever seen. I hate this. C3: Well?? What is it? OEDIPUS enters. CREON [still grandly]: There was a murder most foul, and the one OEDIPUS [falsely cheery]: Ah, Thebes, that great cesspool into who committed it remains among us all. We must find this which all the loungers and idlers of the Greek Empire are murderer, and punish him through banishment, or… death. irresistibly drained. And how are my favorite Thebans today? C4: … What? [CHORUS all groan, making miserable noises and faces] 1 C5: Yeah, translation please. OEDIPUS: Yes, thank you for your input. I’m on the case. But first, I need data. It’s dangerous to theorize without all the facts. C2: Preferably a modern prose translation. Tell me about this murder. C6: None of this epic meter stuff- give it to us in straight dactyls. C3: Well, he was on his way to Delphi to consult the Oracle. CREON: Okay fine. Remember when Laius was shockingly and C5:d on He the die very day that YOU arrived! tragically murdered on his way to Delphi? C6: Everyone died except one of his attendants- he’s a reclusive C1: Oh woe, woe! [starts crying] shepherd now. CREON: …Yeah. Basically, we dropped the ball on that murder OEDIPUS: How curious. And people say there’s no such thing investigation. I mean, really dropped it. So we need to find out as coincidence… What did this shepherd say? who did it, stat. C2: He said that a single man killed him. OEDIPUS: So you’re saying that the murderer is among us, and we must find him?! [reaches into tunica and pulls out a deerstalker] The C4: But how? That’s not physically possible. game is afoot! OEDIPUS: I don’t know. It’s time to investigate. Chorus, you are CREON: Oh, you think you can find him? now officially members of the Theban Street Irregulars. You’ll be my eyes and ears all over the city. Tell me if you notice anything OEDIPUS: I know I can. I might not have told you this before, suspicious. Come along, my dear Creon. [they exit C] but back in Corinth, I was what you might call a “consulting detective”. My full name is Oedipus Holmes, as a matter of fact. [CHORUS all mutter amongst themselves excitedly] [CHORUS gasps and looks excited] C6: WOW, Oedipus Holmes himself is on the case! He’ll solve it in no time. C1: You’re Oedipus Holmes?! You’re my favorite consulting detective! C2: I know, how amazing is this?? He’s like… a celebrity. C4: Shut up, he’s the only consulting detective. He invented the job. SONG: CHORUS, WRECKING BALL What walks, with four, with two, with three C5: I’m your biggest fan, Oedipus! [pulls out deerstalker] Sign my Was asked, never could reply. deerstalker! We tried, we fell under its spell. A plague no one could remove. 2 Don't you ever say OEDIPUS: So far, I have deduced very little. We know the he was not the one murderer is among us. We know he killed Laius. But who? to defeat the Sphinx We can live again, [Chorus & TIRESIAS enter R, T being led by a member of the Chorus.] thanks to one great man we will always love him OEDIPUS: Ah Tiresias, just who I wanted to see [chuckles]. You must know who killed Laius, right? He came here unexpectedly He limped his way into our hearts TIRESIAS [tries to turn around and run away, walks into a column]: No, All we wanted was to be plague-free no way. I did NOT want to come here. No. And the riddle he did breeeeak it Yeah breeak it OEDIPUS: Come on, you’re Tiresias. You’re as prophetic as it gets. You must know. He sits up high in the king’s seat And we, we were doing well TIRESIAS: What, you think I just have the knowledge of who He reigns with her, she loves him too killed Laius tucked away somewhere? And they, they rule Thebes smoothly OEDIPUS: Well… yes! Don't you ever say he won’t solve this too He will solve the murder TIRESIAS [pauses, looks worried]: … Oh woe, woe is me! I can’t He won’t let it go, say. It’s too awful. justice will be served Thebes will always love him OEDIPUS: So you do know! Come on, tell us. We’re all friends here. [throws his arm around Tiresias’ shoulders] he came here unexpectedly he limped his way into our hearts TIRESIAS [gingerly takes Oedipus’ arm off his shoulders]: We’re not all we wanted was to be plague-free friends. I don’t have friends. and the riddle he did breeeeak it yeah breeak it OEDIPUS [shocked gasp]: That stings. You’re so annoying, you would even anger a rock. Tell us who did it, NOW. [all exit R] TIRESIAS: Noooooo. It’s too bad. Let me leave, please. [walks SCENE 2 into another column] [OEDIPUS enters C, smoking pipe and pacing] OEDIPUS: Too late. I deduce from your himation that you know the answer. Also, that you had too much wine last night, and your slave is sleeping with your wife. Now tell us. 3 TIRESIAS: I don’t have a wife! And I’ll NEVER tell you. Never What do you think about that now you know how I feel ever. Say you can handle my omens since they’re for real OEDIPUS: I hate you! You’re just a prophet who never gets I won't be staying, won’t give you a try anything right. I bet you’re the one plotting to overthrow me. You really bug me so now I'll say goodbye TIRESIAS: What?! You’re crazy. You’re the worst king EVER. Yo, I'll tell you ‘bout your fate, if you really really want You want your prophecy? Here’s your prophecy! Yeah tell you ‘bout your fate, if you really really want But ou wanna, you wanna, you wanna, you wanna, you wanna SONG: TIRESIAS, WANNABE Really really really wanna give this up now Yo, I'll tell you ‘bout your fate, if you really really want Yeah tell you ‘bout your fate, if you really really want If you wanna be my ruler, you gotta leave me alone But let me tell you now, yeah you really really don’t Let me leave forever, though the plague goes on I’ll tell you who killed Laius, but really you should stop If you wanna be my ruler, you have got to chill You wanna, you wanna, you wanna, you wanna, you wanna Tyranny’s too easy, but that's the way it is Really really really wanna give this up now If you want my wisdom, forget your rage TIRESIAS: But one last thing. The man who killed Laius… He’s If you wanna know the truth, better shut your mouth among us now. He lives in the royal household. His name rhymes Now don't go wasting my precious time with… Shmedipus. In fact… he looks just. like. you. I don’t need your drama I could be just fine Oedipus: Um… no one matches that description in the royal household, but thanks anyway. Useless prophet. Yo, I'll tell you ‘bout your fate, if you really really want Yeah tell you ‘bout your fate, if you really really want TIRESIAS exits, led by a member of the chorus. But you wanna, you wanna, you wanna, you wanna, you wanna Really really really wanna give this up now OEDIPUS [fuming]: Tiresias. No one stands up to him. No one even dares. I’ll show him. [EXITS] If you wanna be my ruler, you gotta leave me alone SCENE 3 Let me leave forever, though the plague goes on If you wanna be my ruler, you have got to chill CHORUS comes back center stage, chatting.
Recommended publications
  • Teiresias As Magus in Oedipus Rex Kent J
    Teiresias as Magus in "Oedipus Rex" Rigsby, Kent J Greek, Roman and Byzantine Studies; Summer 1976; 17, 2; ProQuest pg. 109 Teiresias as Magus in Oedipus Rex Kent J. Rigsby AVING QUESTIONED an obstinate Teiresias with increasing irrita­ H tion only to be himself accused as the country's plague, Oedipus concludes that the seer has conspired with Creon to overthrow him and denounces them both (OT 385ft): KpEWV 0 mcroc, oug apxfjc t/JLAOC Aa8p~ p.' U1T€A8wv EKf3aA€LV ip.€Lp€TaL, V't'€tc<,/.., p.ayov1 TOLOVO€1 ~ p.7JXavoppa't'0V','/'' ~ 1\ 'I " , ~ 'I:' OO/UOV ayvpT7Jv, oene EV TO Le KEPO€CLV , ~ ,~ " ~, "A.. A.. \ , P.OVOV OEOOPK€, T7JV TEXV7JV 0 €'t'V TV't'I\Oe. He goes on to attack Teiresias' supposed prophetic powers, which could not solve the riddle of the sphinx; he, Oedipus, had had the wisdom to do that (and thus become king). Creon is motivated by envy (380ft), Teiresias by the ambition to stand next to Creon's throne (399£). Why does he call Teiresias a 'Magus'? The traditional view is eloquently stated by Jebb: "The word p.ayoc expresses contempt for the rites of divination practised by Teiresias: ayvpT7Je taunts him as a mercenary imposter ... The passage shows how Asiatic superstitions had already spread among the vulgar, and were scorned by the edu­ cated, in Greece ... So Bur. Or. 1496 (Helen has been spirited away), ~ t/Jap/LaKOLCLV (by charms), ~ p.aywv I TExvaLCLv, ~ 8€wv KA01TaLc."l Kamerbeek has commented recently in a somewhat different vein: "The word is very common in Hdt.
    [Show full text]
  • Oedipus Rex Crossword Puzzle
    L I T ERARY CROSSWO RD PUZZ LE Oedipus Rex 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Across Down Across 2. Animals useful in prophecy Down1. The wife of Oedipus 2. Animals4. useful Tiresias in prophecy says Oedipus is “the unholy ________ 1. 3.The How wife Jocasta of Oedipus died of this land.” 5. Laius was killed at the intersection of ________ 4. Tiresias 7.says The Oedipus famous is “the Oracle unholy dwells ________ here. of this land.” 3. How________. Jocasta died (2 words) 7. The famous9. What Oracle has dwells killed here. Polybus? (2 words) 5. 6.Laius The was shepherd killed at claimsthe intersection that Oedipus of ________ was born________. this (2 11. Who has killed Laius? words)way. 9. What has15. killedThe entirePolybus? play (2 words)takes place outside of here. 8. Oedipus is revealed to have married his 11. Who has16. killed Adoptive Laius? mother of Oedipus 6. The_________. shepherd claims that Oedipus was born this way. 15. The entire17. playMeaning takes placeof “Rex” outside of here. 8.10. Oedipus The baby is revealed Oedipus to have was married to be killed his _________. before he 19. What Oedipus decrees will happen to Laius’ could ________ ________ ________. (3 16. Adoptive mothermurderer of Oedipus 10. Thewords) baby Oedipus was to be killed before he could ________ ________ ________. (3 words) 17. Meaning20. of King “Rex” of the Greek gods 12. Oedipus hopes the herdsman will say ________ 24.
    [Show full text]
  • Surviving Antigone: Anouilh, Adaptation, and the Archive
    SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year.
    [Show full text]
  • Llt 121 Classical Mythology Lecture 32 Good Morning
    LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • Ancient Greek Myth and Drama in Greek Cinema (1930–2012): an Overall Approach
    Konstantinos KyriaKos ANCIENT GREEK MYTH AND DRAMA IN GREEK CINEMA (1930–2012): AN OVERALL APPROACH Ι. Introduction he purpose of the present article is to outline the relationship between TGreek cinema and themes from Ancient Greek mythology, in a period stretching from 1930 to 2012. This discourse is initiated by examining mov- ies dated before WW II (Prometheus Bound, 1930, Dimitris Meravidis)1 till recent important ones such as Strella. A Woman’s Way (2009, Panos Ch. Koutras).2 Moreover, movies involving ancient drama adaptations are co-ex- amined with the ones referring to ancient mythology in general. This is due to a particularity of the perception of ancient drama by script writers and di- rectors of Greek cinema: in ancient tragedy and comedy film adaptations,3 ancient drama was typically employed as a source for myth. * I wish to express my gratitude to S. Tsitsiridis, A. Marinis and G. Sakallieros for their succinct remarks upon this article. 1. The ideologically interesting endeavours — expressed through filming the Delphic Cel- ebrations Prometheus Bound by Eva Palmer-Sikelianos and Angelos Sikelianos (1930, Dimitris Meravidis) and the Longus romance in Daphnis and Chloë (1931, Orestis Laskos) — belong to the origins of Greek cinema. What the viewers behold, in the first fiction film of the Greek Cinema (The Adventures of Villar, 1924, Joseph Hepp), is a wedding reception at the hill of Acropolis. Then, during the interwar period, film pro- duction comprises of documentaries depicting the “Celebrations of the Third Greek Civilisation”, romances from late antiquity (where the beauty of the lovers refers to An- cient Greek statues), and, finally, the first filmings of a theatrical performance, Del- phic Celebrations.
    [Show full text]
  • A Creed to Live by Don't Undermine Your Worth by Comparing Yourself
    A Creed To Live By A Hundred Years From Now Don't undermine your worth by comparing yourself A hundred years from now it will not matter what my with others. bank account was, the sort of house I lived in, or the It is because we are different that each of us is kind of car I drove but the world may be different special. because I was important in the life of a child. Don't set your goals by what other people deem A Man important. Only you know what is best for you. A man that made an impression on strangers and friends. Don't take for granted the things closest to your heart. Quiet but firm and even more stern. Cling to them as you would your life, for without Strength and courage I have learned from you, them life is meaningless. but being without you is hard to do. Don't let your life slip through your fingers by living A man with pride in every step he made. in the past or for the future. A man with vigor in every phrase. By living your life one day at a time, you live all the days of your life. The tears I’ve shed cannot surpass the smiles and the laughs we had with you. Don't give up when you still have something to give. To feel your pain I could not do, Nothing is really over until the moment you stop to feel your joy I cannot explain, trying. but being without you is hard to do.
    [Show full text]
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
    [Show full text]
  • Jocasta and the Sin of Thebes Bernadette Waterman Ward
    Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit.
    [Show full text]
  • MDC 2020 Full Syllabus
    MDC -- Literature Humanities Fall Semester 2020 Professor Christia Mercer Columbia University Welcome to Columbia University! This is Literature Humanities, a course that all Columbia College students are required to take. If you keep up with the requirements, you will receive Columbia University credit for the course. I'm looking forward to working with you! I wish I could be there in person, but we'll have to make do with paper and DVDs. Fingers crossed that this will all work!!! Course Description In this course, we’ll analyze two famous plays from roughly 2500 years ago. As you'll see, although this literature is very weird in some ways, it also speaks to us now. Since the plays were written and performed 2500 years ago, they have been performed, discussed, and deBated. The plays that we'll discuss explore love, desire, fear, family, revenge, courage, justice, power, and gender. The questions we will ask aBout the works include: How do these ancient works of literature create imagined worlds that still resonate with us, despite their historical distance, and what do they tell us aBout the challenges of human existence? Besides examining the themes and ideas in these dramas, we’ll pay attention to the theatrical elements they employ. We’ll do close readings of passages and scenes, and sometimes explore their complications by performing or acting out parts of them. Our Main Questions/Themes Our classroom discussions will focus on the following questions: As human beings, what should we seek or love? How do our goals and loves relate to those of our family, friends, and community? Why is fulfilling our loves so hard? What gets in the way? What do we fear and how can we overcome those fears? How can we know what's right? Are we fated to do what we do? Is suffering a means to insight and knowledge? In the end, what do the answers offered to these questions by this ancient literature tell us about ourselves as human beings? Pedagogical Goals Improve writing skills.
    [Show full text]
  • Stravinsky Oedipus
    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
    [Show full text]
  • Antigone's Line
    Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1.
    [Show full text]